Kateryna Radchenko on the new photojournalists of Ukraine

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On the morning of 24 February 2022, Ukrainian photographers woke up in a warzone. Many of them, such Mikhail Palinchak, Alina Smutko, Volodymyr Petrov and Pavel Dorogoy, chose to remain, creating the horrific scenes happening in their home.

The Russia-instigated war in Ukraine has raged for some six weeks. Estimates in the UN suggest that some several. 5 million people have fled to neighbouring countries including Poland, Moldova and Romania. But , despite the ongoing intense bombing of civilian places, many Ukrainians have chosen to remain. They include professional photographers, who stay to record how their home cities turn out to be almost unrecognisable. Doing there is nothing not an option. In some ways, producing photographs helps them cope with emotional stress. It also acts to raise worldwide awareness through the perspective of those who are living through this invasion, and archives collective memory.  

A lot more than 2000 international journalists are in Ukraine reporting at the events. These are qualified correspondents with experience in conflict zones. Some local photojournalists also have assignments with international agencies and media. Now, a new group of Ukrainian photographers has formed. Formerly specialising in street photography, documentary and disciplines, now they take pictures on the front side line of volunteers, displaced family members, fortified cities and brand new daily routines. Since the dawn associated with 24 February 2022, these types of artists are war reporters too.

Volodymyr Petrov

@volodymyrpetrov

Kyiv-based photographer Volodymyr Petrov uses his lens to see daily life, often in black-and-white, and has a talent meant for capturing fleeting moments while preserving classic composition. Every image tells a story, finish in its narrative and appealing enough for a viewer to want to know more. Petrov worked for that Kyiv Post, and as the war photographer in Donbas. However , that experience is different through shooting a conflict in your home city.    

These days Petrov continues to record daily life in Kyiv and its suburbs, but the narrative has changed. People are still the focus of their pictures, but they are hurting. We see tears and confusion instead of smiling faces, while ruins of increased buildings replace what had been once cityscapes.

© Volodymyr Petrov.

© Volodymyr Petrov, 2022.

© Volodymyr Petrov,

© Volodymyr Petrov, 2022.

Mikhail Palinchak

@mpalinchakphoto

Born within Uzhgorod and based in Kyiv, Mikhail Palinchak is a street and documentary photographer and founder of the Ukrainian artistry and culture magazine, Untitled. Between 2014 and 2019, Palinchak was the official photographer of Petro Poroshenko, the fifth President of Ukraine. Following the President on public missions, picturing him with summits of international organizations such as NATO, the EUROPEAN UNION and the United Nations, he frequently witnessed important political decision-making. His series, Bilateral Rooms (2018) pictures the rooms where these conversations happened. It visualises the volatility and elusiveness of politics systems, which are embodied in temporary architectural forms. The rooms are basic plus practical with cheap add-ons, yet this is where fates of millions are decided. Today, his series has renewed relevance, when Ukraine’s destiny depends on the dialogue between staff of different organisations and market leaders of different countries in these exact same spaces.  

Palinchak has been around Kyiv since the start of the war. Despite a new context, their artworks retain their cosmetic pull. Minimalist stories are full of drama conveyed through extreme colour and an focus on details. His images have touched the hearts from the international community, such as those of the newlywed Yaryna Arieva, 21 and Svyatoslav Fursin, with their new AK47 weapons. He regularly updates their Instagram with images and detailed explanations of exactly what he is witnessing

Bilateral Rooms ©  Mikhail Palinchak.

© Mikhail Palinchak, March 2022.

Zwischenstaatlich Rooms ©  Mikhail Palinchak.

© Mikhail Palinchak, Walk 2022.

Alina Smutko

@alina_smutko

Before the war, Alina Smutko’s work revolved close to politics, sport, social plus religious conflicts, life within post-conflict zones, historical memory and national identity. Smutko worked in Ukraine, predominantly in Crimea and in the particular Luhansk and Donetsk regions. She also worked abroad in the South Caucasus as well as other post-Soviet territories. For her, pictures allows her to address problems of social importance and also to give voice to those who need support: mothers whose kids died at birth or prematurely; seriously ill kids; and Crimean Tatars who are forced to live in the profession. She photographs people’s tales and their pain.  

Smutko is currently working in Kyiv. She continues to record tales of civilians who suffer from bombardment and shelling and are also forced to flee to more secure regions in Ukraine. Her use of a wide-angle lens brings us closer to the terrible events. Each day she articles an image to her Instagram to demonstrate that the capital stands. A current post reads: “Kyiv will be standing. Day 26. Shop is working. Bread is on sale. ”

New Hybrid Deportations © Alina Smutko.

New Hybrid Deportations © Alina Smutko.

Kyiv, 09 March 2022 © Alina Smutko.

Kyiv evacuation, 09 March 2022 © Alina Smutko.

Without Hint of Art © Pavel Dorogoy.

Pavel Dorogoy

@paveldorogoy

Kharkiv photographer and filmmaker Pavel Dorogoy has often gravitated to architecture plus vernacular photography in his tasks. His series Without Suggestion of Art is based on the particular photo archive of Shchetinin Borys Opanasovych , an ex Soviet citizen who lived in Kharkiv and repaired camera lenses in his spare time. To test the equipment, he required pictures of himself and the city from the window of his apartment. Dorogoy began working with the archive in 2016, exploring the relationship between your person and their atmosphere. By interpreting and layering images, Dorogoy chronicles the transformation of the biggest residential area in Kharkiv during the era of industrialization within the 1960s and 1970s, putting Shchetinin at its center.

Kharkiv, located just thirty kilometres from the Ukraine-Russia border, has been shelled and bombarded since the first day of the invasion. The violent assaults continue to this day. Despite the risk, Dorogoy decided to stay in the city and record evidence of criminal activity committed by the Russian army. He depicts the city, broken houses and destroyed landmarks. There are lonely passers-by and bodies of the wounded and killed in the streets here and there, but Dorogoy makes sure in order to always show people with the particular infrastructure in the background to preserve its image.

“I am staying in my home town because I want to collect and keep evidence of Putin’s and Russia’s crimes”, Pavel Dorogoy posted on Facebook.

© Pavel Dorogoy, 2022.

© Pavel Dorogoy, 2022.

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